I made three videos and a sound to create like Shishiodoshi which is an element in Japanese garden. The shishiodoshi made of a bamboo makes sounds to scare deers away. I like the way it makes the sounds. You can’t predict when it will make the sound. So, you would be nervous but also excited. It makes people relaxed as well. I’m planing to exhibit the videos as different moments. The videos will be played in different timings. So if the audience is lucky and patient, they would find a perfect timing with the sound sometimes. 

The sound has three components. The beginning part is ‘Morning’, gradually waking up, and being ready to go outside. The second part if ‘Afternoon’, going outside in rain with key sounds, the third part is ‘NIght’, making popcorns, boiling water and a monster comes. And sometimes, there are small silence blanks as well. 

Water was an important element for the sound. In the beginning, it sounded peacefully and gradually the existence gets bigger by rain sounds and becomes a monster by the sound of boiling in the end. 

I really wanted to make indications of atmospheres. When we put the sound, suddenly the paintings, the potatoes, the embroideries and the crochets in the room seemed moving and talking. 

 

The three videos are about ‘Morning’, ‘Afternoon’ and ‘Night’ as well. I divided the characters of videos in colors and the level of sadness(ex, ‘Clouds eat clouds’ is merrier than ‘Night ritual’). I cropped the videos in a small circle in a rectangle. I prepared three cube monitors. The shape made audience to feel like sneaking to see moments in TVs. And also I added many black cuts, so people need to be patient to see the moments. 

The videos show ‘We are here’ but ‘You may not be able to find me’ and ‘’You may not be able to catch me’. It’s like finding a cat walking in-between small streets, and you find the beauty in a second. 

 

‘We won’t be able to swim in the same water again’. The every components in the room collaborate each other. If an spectator comes with her friend, the friend might see a different thing from the spectator.  And they may talk about different impressions from our work. That’s what we do everyday life. I want to blur the definition of everything what we see. 

 

The beginning of setting every work up, we tried to set every painting, every TVs, and every object in the right positions. We set them in lines. They looked like they were in frames. But after Gillian’s suggestion, we suddenly became like slimes to interact with objects. And I remembered about Sarah Tze’s interview. ‘Sarah Sze scupltures resemble leftovers or traces of human behavior’. She talked that everyday her studio changes because of her or other people’s behaviors move objects. So I found that actually the movements are more important than the objects themselves. And the movement create  souls of the objects. The traces of movements are the spaces in-between objects. So I felt that the spaces between objects are kind of UNN and HARUKA(shadows). The setting reminded me of how I set a leaf on the way to my home everyday. Sometimes, when I find a leaf, I feel something intimate and talk with the leaf in silence about where the leaf wants to be on. Talking with objects gently in silence may lead to create the shadows of the objects.